Drawing Talent Quotes

I should have guessed you were Jace's sister," he said. "You both have the same artistic talent." Clary paused, her foot on the lowest stair. She was taken aback. "Jace can draw?" Nah." When Alec smiled, his eyes lit like blue lamps and Clary could see what Magnus had found so captivating about him. "I was just kidding. He can't draw a straight line.

I just rely on natural talent," said Adrian, strolling up to the start of the Dragon's Lair. "When you have such a wealth of it to draw from, the danger comes from having too much.

Some people are born with an ear for music, some people are born with a talent for drawing, some people...have a built-in radar that tells them where a comma needs to go in a sentence.

Discover a purpose that gives you passion. Develop a plan that makes you persistent. Design a preparation and motivates you to optimize your potentials. Do it because you love it!

The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.

We have one life, THIS life. It is this limited lifetime that you have to make the most of. Live it! Embrace it, don’t waste it. Listen with intention to what that inner voice has been telling you. Draw, write, travel, build, teach, inspire, learn and create because THAT’s living. Feel your life with joy and passion for what you bring to it. Your talents are meant to be embraced and shared. It makes us better.

Unless you write yourself, you can’t know how wonderful it is; I always used to bemoan the fact that I couldn’t draw, but now I’m overjoyed that at least I can write. And if I don’t have the talent to write books or newspaper articles, I can always write for myself. But I want to achieve more than that.

Millions of people can draw. Art is whether there is a scream in you wanting to get out in a special way.

Every time we witness an injustice and do not act, we train our character to be passive in its presence and thereby eventually lose all ability to defend ourselves and those we love. In a modern economy it is impossible to seal oneself off from injustice. If we have brains or courage, then we are blessed and called on not to frit these qualities away, standing agape at the ideas of others, winning pissing contests, improving the efficiencies of the neocorporate state, or immersing ourselves in obscuranta, but rather to prove the vigor of our talents against the strongest opponents of love we can find. If we can only live once, then let it be a daring adventure that draws on all our powers. Let it be with similar types whos hearts and heads we may be proud of. Let our grandchildren delight to find the start of our stories in their ears but the endings all around in their wandering eyes. The whole universe or the structure that perceives it is a worthy opponent, but try as I may I can not escape the sound of suffering. Perhaps as an old man I will take great comfort in pottering around in a lab and gently talking to students in the summer evening and will accept suffering with insouciance. But not now; men in their prime, if they have convictions are tasked to act on them.

Over the last forty years, many educators, decision-makers, and even some parents have come to regard the arts as peripheral, and let’s face it, frivolous—especially the visual arts, with their connotation of ”the starving artist” and the mistaken concept of necessary talent

You know, with talented people.... They draw people to themselves, and without even trying to, they tear them to shreds.

It's a funny thing that people are always quite ready to admit it if they've no talent for drawing or music, whereas everyone imagines that they themselves are capable of true love, which is a talent like any other, only far more rare.

The most mesmerizing of artists is always like one who was merely drawing in the sand and people came to watch.

I'm not talented at all. It's just that I spend more time thinking about art than others.

Lincoln's story confounds those who see depression as a collection of symptoms to be eliminated. But it resonates with those who see suffering as a potential catalyst of emotional growth. "What man actually needs," the psychiatrist Victor Frankl argued,"is not a tension-less state but rather the striving and struggling of a worthwhile goal." Many believe that psychological health comes with the relief of distress. But Frankl proposed that all people-- and particularly those under some emotional weight-- need a purpose that will both draw on their talents and transcend their lives. For Lincoln, this sense of purpose was indeed the key that unlocked the gates of a mental prison. This doesn't mean his suffering went away. In fact, as his life became richer and more satisfying, his melancholy exerted a stronger pull. He now responded to that pull by tying it to his newly defined sense of purpose. From a place of trouble, he looked for meaning. He looked at imperfection and sought redemption.

A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart. I am alone, and feel the charm of existence in this spot, which was created for the bliss of souls like mine. I am so happy, my dear friend, so absorbed in the exquisite sense of mere tranquil existence, that I neglect my talents. I should be incapable of drawing a single stroke at the present moment; and yet I feel that I never was a greater artist than now. When, while the lovely valley teems with vapour around me, and the meridian sun strikes the upper surface of the impenetrable foliage of my trees, and but a few stray gleams steal into the inner sanctuary, I throw myself down among the tall grass by the trickling stream; and, as I lie close to the earth, a thousand unknown plants are noticed by me: when I hear the buzz of the little world among the stalks, and grow familiar with the countless indescribable forms of the insects and flies, then I feel the presence of the Almighty, who formed us in his own image, and the breath of that universal love which bears and sustains us, as it floats around us in an eternity of bliss; and then, my friend, when darkness overspreads my eyes, and heaven and earth seem to dwell in my soul and absorb its power, like the form of a beloved mistress, then I often think with longing, Oh, would I could describe these conceptions, could impress upon paper all that is living so full and warm within me, that it might be the mirror of my soul, as my soul is the mirror of the infinite God! O my friend — but it is too much for my strength — I sink under the weight of the splendour of these visions!

How can we explain such inclinations? They are forces within us that come from a deeper place than conscious words can express.They draw us to certain experiences and away from others.

The only class that I was having a hard time with was my art elective. I couldn’t draw worth a damn. I was pretty good at trees. I sucked at drawing faces. But in art class, all you had to do was try. I was getting an A for work. But not for talent. The story of my life.

I’ve never held the view that women are better than men, or that the best way to improve the world is for women to gain more power than men. I think male dominance is harmful to society because any dominance is harmful: It means society is governed by a false hierarchy where power and opportunity are awarded according to gender, age, wealth, and privilege—not according to skill, effort, talent, or accomplishments. When a culture of dominance is broken, it activates power in all of us. So the goal for me is not the rise of women and the fall of man. It is the rise of both women and men from a struggle for dominance to a state of partnership. If the goal is partnership between women and men, why do I put so much emphasis on women’s empowerment and women’s groups? My answer is that we draw strength from each other, and we often have to convince ourselves that we deserve an equal partnership before we get one.

Bit by bit, I found myself relaxing into the conversation. Kitty had a natural talent for drawing people out of themselves, and it was easy to fall in with her, to feel comfortable in her presence. As Uncle Victor had once told me long ago, a conversation is like having a catch with someone. A good partner tosses the ball directly into your glove, making it almost impossible for you to miss it; when he is on the receiving end, he catches everything sent his way, even the most errant and incompetent throws. That’s what Kitty did. She kept lobbing the ball straight into the pocket of my glove, and when I threw the ball back to her, she hauled in everything that was even remotely in her area: jumping up to spear balls that soared above her head, diving nimbly to her left or right, charging in to make tumbling, shoestring catches. More than that, her skill was such that she always made me feel that I had made those bad throws on purpose, as if my only object had been to make the game more amusing. She made me seem better than I was, and that strengthened my confidence, which in turn helped to make my throws less difficult for her to handle. In other words, I started talking to her rather than to myself, and the pleasure of it was greater than anything I had experienced in a long time.

She had always wanted to do every thing, and had made more progress in both drawing and music than many might have done with so little labour as she ever would submit to... She was not much deceived as to her own skill either as an artist or a musician, but she was not unwilling to have others deceived, or sorry to know her reputation for accomplishment often higher than it deserved.

I realized how subversive Ruth was then, not because she drew pictures of nude women that got misused by her peers, but because she was more talented than her teachers. She was the quietest kind of rebel. Helpless, really.

Whether you dance, draw, make music, shoot field goals, build houses, tune engines, or sit around all day watching television, you are an artist. Your single greatest work of art is your self. As with any art form, the more you understand and develop your talents, the more empowered and masterful you become as an artist. This is particularly important when engaging in the art of consciously shaping your own life.

Her father sat her down and spoke to her with great seriousness. "You are not a witch, Katerina. There is magic in the world, and some of it is wholesome, and some of it is not, but it is a thing that is in the blood, and it is not in yours. "The foolish will always treat you badly, because they think you are not beautiful," he said, and she knew this was true. Plain Kate. She was a plain as a stick and thin as a stick and flat as a stick. Her nose was too long and her brows too strong. Her father kissed her twice, once above each brow. "We cannot help what fools think. But understand, it is your skill with a blade that draws this talk. If you want to give up your carving, you have my blessing." "I will never give it up," she answered.

I am so happy, my dear friend, so absorbed in the exquisite sense of mere tranquil existence, that I neglect my talents. I should be incapable of drawing a single stroke at the present moment; and yet I feel that I never was a greater artist than now.

My life was awful. When I was a kid, I was fat, pretty ugly and had awful hair. I used to get teased every fucking day, slammed up against lockers, punched in the face - you name it. Hell, I had to go to prom with one of my female friends because I couldn’t even get a proper date. I can’t even look back at those photos because I look so bad. I transferred schools, but the teasing just got worse. After an, let’s say, ‘incident’ I had with the school play the bullying just got worse. But I made it through high school, only to find out that real life was pretty much the same. I just stayed in my dark room all day and didn’t talk to anyone. I didn’t go outside. I just stayed inside and drew. I’d draw vampires, mummies, heroes, villains. Anything to help me escape all the bad in the world. I went to art school and didn’t really belong. All I could draw was comic book characters. I tried to put my only good talent to use by drawing a cartoon and pitching it - only to have it turned down. Life to me was just pointless. I started drinking, doing drugs and just generally wasting my life drawing.
Then one day, I saw bodies falling from the sky. I witnessed people dying. And that’s when I decided to turn my life around. I called up anyone I knew who had an instrument and we formed a band. Being on tour for the first few years was bad. All we’d do is get drunk and do drugs, but I loved it. Because I was doing something I loved with people I loved. And a few years ago I met the most perfect woman ever. It’s like we share a wave-link or something. She just knows me without even knowing me, if you understand. And now, 2011, I have a beautiful baby girl, a caring wife and I get to perform for my adoring fans everyday. I am living proof that no matter how bad it gets, it gets better. I am Gerard Way, and I survived.

Dear Madam Vorsoisson, I am sorry. This is the eleventh draft of this letter. They’ve all started with those three words, even the horrible version in rhyme, so I guess they stay. You once asked me never to lie to you. All right, so. I’ll tell you the truth now even if it isn’t the best or cleverest thing, and not abject enough either. I tried to be the thief of you, to ambush and take prisoner what I thought I could never earn or be given. You were not a ship to be hijacked, but I couldn’t think of any other plan but subterfuge and surprise. Though not as much of a surprise as what happened at dinner. The revolution started prematurely because the idiot conspirator blew up his secret ammo dump and lit the sky with his intentions. Sometimes these accidents end in new nations, but more often they end badly, in hangings and beheadings. And people running into the night. I can’t be sorry that I asked you to marry me, because that was the one true part in all the smoke and rubble, but I’m sick as hell that I asked you so badly. Even though I’d kept my counsel from you, I should have at least had the courtesy to keep it from others as well, till you’d had the year of grace and rest you’d asked for. But I became terrified that you’d choose another first. So I used the garden as a ploy to get near you. I deliberately and consciously shaped your heart’s desire into a trap. For this I am more than sorry, I am ashamed. You’d earned every chance to grow. I’d like to pretend I didn’t see it would be a conflict of interest for me to be the one to give you some of those chances, but that would be another lie. But it made me crazy to watch you constrained to tiny steps, when you could be outrunning time. There is only a brief moment of apogee to do that, in most lives. I love you. But I lust after and covet so much more than your body. I wanted to possess the power of your eyes, the way they see form and beauty that isn’t even there yet and draw it up out of nothing into the solid world. I wanted to own the honor of your heart, unbowed in the vilest horrors of Komarr. I wanted your courage and your will, your caution and your serenity. I wanted, I suppose, your soul, and that was too much to want. I wanted to give you a victory. But by their essential nature triumphs can’t be given. They must be taken, and the worse the odds and the fiercer the resistance, the greater the honor. Victories can’t be gifts. But gifts can be victories, can’t they. It’s what you said. The garden could have been your gift, a dowry of talent, skill, and vision. I know it’s too late now, but I just wanted to say, it would have been a victory most worthy of our House. Yours to command, Miles Vorkosigan

Lincoln’s genius was his ability to draw upon the talents of others, meld together diverse personalities who often did not trust one another, and then listen to their advice, recognizing that it was sometimes wiser than his own.

If any writer in this country has collected as fine and passionate a group of readers as I have, they’re fortunate and lucky beyond anyone’s imagination. It remains a shock to me that I’ve had a successful writing career. Not someone like me; Lord, there were too many forces working against me, too many dark currents pushing against me, but it somehow worked. Though I wish I’d written a lot more, been bolder with my talent, more forgiving of my weaknesses, I’ve managed to draw a magic audience into my circle. They come to my signings to tell me stories, their stories. The ones that have hurt them and made their nights long and their lives harder.

Talent is essential, but cash buys the opportunity for that talent to be discovered. To pretend otherwise is to spit in the face of every broke genius.

Moreover, the sciences are monuments devoted to the public good; each citizen owes to them a tribute proportional to his talents. While the great men, carried to the summit of the edifice, draw and put up the higher floors, the ordinary artists scattered in the lower floors, or hidden in the obscurity of the foundations, must only seek to improve what cleverer hands have created.

In my opinion it is not the writer's job to solve such problems as God, pessimism, etc; his job is merely to record who, under what conditions, said or thought what about God or pessimism. The artist is not meant to be a judge of his characters and what they say; his only job is to be an impartial witness. I heard two Russians in a muddled conversation about pessimism, a conversation that solved nothing; all I am bound to do is reproduce that conversation exactly as I heard it. Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

Ruskin’s interest in beauty and in its possession led him to five central conclusions. First, beauty was the result of a number of complex factors that affected the mind both psychologically and visually. Second, humans had an innate tendency to respond to beauty and to desire to possess it. Third, there were many lower expressions of this desire for possession (including, as we have seen, buying souvenirs and carpets, carving one’s name on a pillar and taking photographs). Fourth, there was only one way to possess beauty properly, and that was by understanding it, by making oneself conscious of the factors (psychological and visual) responsible for it. And last, the most effective means of pursuing this conscious understanding was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so.

Our cultures used to be almost hereditary, but now we choose them from a menu as various as the food court of a suburban shopping mall. Ambition, curiosity, talent, sexuality or religion can draw us to new cities and cultures, where we become foreigners to our parents. Synthetic cultures are nimbler than old ones, often imprudently so. They have scattered so widely that they can no longer hear each other and now some have gone so far afield that they have passed through the apocalypse while the rest of us are watching it on TV.

Thus, the lesson we should draw from these people is not that each person's talents are infinitely malleable or that they can be anything they want to be if they just apply themselves. Rather, the lesson is that talents, like intelligence, are value neutral. If you want to change your life so that others may benefit from your strengths, then change your values. Don't waste time trying to change your talents.

You know why you can’t assemble enough money?” he said looking at his tin. “Not because you don’t know how to perform, but because you’re ignorant of the style of drawing money out of the people’s pockets. How can you get the tips if you don’t know the tricks? I beheld a busker once that had no talent, but he enchanted people with his words. He often said to the passers-by, ‘Please give generously. I could be out robbing houses…yours, for example.’ Even a cootie-catcher girl busks more than you.

As a young cartoonist, Walt Disney faced many rejections from newspaper editors who said he had no talent. One day a minister at a church hired him to draw some cartoons. Disney was working out of a small rodent-infested shed near the church. Seeing a small mouse inspired him to draw a new cartoon. That was the start of Mickey Mouse.

I know people who read interminably, book after book, from page to page, and yet I should not call them 'well-read people'. Of course they 'know' an immense amount; but their brain seems incapable of assorting and classifying the material which they have gathered from books. They have not the faculty of distinguishing between what is useful and useless in a book; so that they may retain the former in their minds and if possible skip over the latter while reading it, if that be not possible, then--when once read--throw it overboard as useless ballast. Reading is not an end in itself, but a means to an end. Its chief purpose is to help towards filling in the framework which is made up of the talents and capabilities that each individual possesses. Thus each one procures for himself the implements and materials necessary for the fulfilment of his calling in life, no matter whether this be the elementary task of earning one's daily bread or a calling that responds to higher human aspirations. Such is the first purpose of reading. And the second purpose is to give a general knowledge of the world in which we live. In both cases, however, the material which one has acquired through reading must not be stored up in the memory on a plan that corresponds to the successive chapters of the book; but each little piece of knowledge thus gained must be treated as if it were a little stone to be inserted into a mosaic, so that it finds its proper place among all the other pieces and particles that help to form a general world-picture in the brain of the reader. Otherwise only a confused jumble of chaotic notions will result from all this reading. That jumble is not merely useless, but it also tends to make the unfortunate possessor of it conceited. For he seriously considers himself a well-educated person and thinks that he understands something of life. He believes that he has acquired knowledge, whereas the truth is that every increase in such 'knowledge' draws him more and more away from real life, until he finally ends up in some sanatorium or takes to politics and becomes a parliamentary deputy. Such a person never succeeds in turning his knowledge to practical account when the opportune moment arrives; for his mental equipment is not ordered with a view to meeting the demands of everyday life. His knowledge is stored in his brain as a literal transcript of the books he has read and the order of succession in which he has read them. And if Fate should one day call upon him to use some of his book-knowledge for certain practical ends in life that very call will have to name the book and give the number of the page; for the poor noodle himself would never be able to find the spot where he gathered the information now called for. But if the page is not mentioned at the critical moment the widely-read intellectual will find himself in a state of hopeless embarrassment. In a high state of agitation he searches for analogous cases and it is almost a dead certainty that he will finally deliver the wrong prescription.

You keep asking what fate awaits you in the future instead of thinking of what fate you will draw for yourself in the future with your willpower and talents! You stupid!

No matter how great your talent, talent has to work with knowledge to do anything well.

That is the way with us when we have any uneasy jealousy in our disposition: if our talents are chiefly of the burrowing kind, our honey-sipping cousin (whom we have grave reasons for objecting to) is likely to have a secret contempt for us, and any one who admires him passes an oblique criticism on ourselves. Having the scruples of rectitude in our souls, we are above the meanness of injuring him—rather we meet all his claims on us by active benefits; and the drawing of cheques for him, being a superiority which he must recognize, gives our bitterness a milder infusion.

Even our church growth can happen without Him. Let’s be honest: If you combine a charismatic speaker, a talented worship band, and some hip, creative events, people will attend your church. Yet this does not mean that the Holy Spirit of God is actively working and moving in the lives of the people who are coming. It simply means that you have created a space that is appealing enough to draw people in for an hour or two on Sunday.

My determination is not to remain stubbornly with my ideas but I'll leave them and go over to others as soon as I am shown plausible reason which I can grasp. This is the more true since I have no other purpose than to place truth before my eyes so far as it is in my power to embrace it; and to use the little talent I have received to draw the world away from its old heathenish superstitions and to go over to the truth and to stick to it.

Instead of the sterile language of resumes, we need a language for contributions that captures the humanity of what we do—that expresses how we draw on our human talents to make contributions to people, not just to companies.

It's a funny thing that people are always quite ready to admit if they've no talent for drawing or music, whereas everyone imagines that they themselves are capable of true love, which is a talent like any other, only far more rare.

Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

For a six-year-old, she’s got some talent, and this drawing is among her better ones, in a way. The six figures actually resemble us—Patrick, Steven, the twins, me, and Sonia. We’re all standing in our garden, holding hands under a tree that’s blooming with white stars. She’s got the twins in matching outfits and she’s drawn something that looks more like a suitcase than a briefcase in Patrick’s free hand. Steven wears his new pin; my hair is pulled back into a ponytail. Around my wrist and Sonia’s are bracelets: red for her and black for me. We’re all smiling under a sun she’s decorated with orange hearts. “Beautiful,” I say, taking the drawing. But I don’t think it’s beautiful. I think it’s the ugliest fucking thing I’ve ever seen.

When the artist leaves a painting on a wall with the full confidence that the mastery of his skill, soul and vision will draw others into its vortex long after he is gone, he is using the grip of seduction. When the musician’s performance, the manipulation of her instrument and the command of her talents are so raw and uninhibited that onlookers feel connected to the cosmos, bridged by the pure genius they are now experiencing, she is using the mystery of seduction. The unexplainable feeling fans get when the athlete ceases to be an athlete and rises to the level of the untouchable magician that can make anything happen, is nothing less than the power of seduction at work. The immense value of seduction is its ability to skillfully allure others into one’s world . . . .

As I mentioned briefly on the phone, the best thing about the Air Chrysalis is that it's not an imitation of anyone. It has absolutely none of the usual new writer's sense of 'I want to be another so-and-so'. the syle, for sure, is rough,and the writing is clumsy. She even gets the title wrong: she's confusing 'chrysalis' and 'cocoon'. You could pick it apart completely if you wanted to. But the story itself has real power: it draws you in. the overall plots is a fantasy, but the descriptive details is incredibly real.The balance between the two is excellent. I don't know if words like 'originality' or Inevitability' fit here, and I suppose I might agree if someone insisted it's not at that level, but finally, after you work your way through the thing, with all its faults, it leaves a real impression- it gets to you in some strange, inexplicable way that may be a little disturbing.

And even though she couldn’t write, Kya had found a way to label her specimens. Her talent had matured and now she could draw, paint, and sketch anything. Using chalks or watercolors from the Five and Dime, she sketched the birds, insects, or shells on grocery bags and attached them to her samples.

But how does one adorn one’s inside?” Magnolia interrupted, drawing both their gazes. Eliza approached and squeezed her hand. “Only God can do that. All you have to do is ask Him. He loves you, Magnolia. He formed you in your mother’s womb to be unique and talented and beautiful and…well, just to be you.

I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble. There was snow on the windowledge. Some rags and an unloved ruffled shirt of mine had been stuffed into places where the window frame was warped and cold air entered. The refrigerator was unplugged, full of record albums, tapes, and old magazines. I went to the sink and turned on both taps all the way, drawing an intermittent trickle. Least is best. I tried the radio, picking up AM only at the top of the dial, FM not at all." The industrial loft buildings along Great Jones seemed misproportioned, broad structures half as tall as they should have been, as if deprived of light by the great skyscraper ranges to the north and south." Transparanoia owns this building," he said. She wanted to be lead singer in a coke-snorting hard-rock band but was prepared to be content beating a tambourine at studio parties. Her mind was exceptional, a fact she preferred to ignore. All she desired was the brute electricity of that sound. To make the men who made it. To keep moving. To forget everything. To be that sound. That was the only tide she heeded. She wanted to exist as music does, nowhere, beyond maps of language. Opal knew almost every important figure in the business, in the culture, in the various subcultures. But she had no talent as a performer, not the slightest, and so drifted along the jet trajectories from band to band, keeping near the fervers of her love, that obliterating sound, until we met eventually in Mexico, in somebody's sister's bed, where the tiny surprise of her name, dropping like a pebble on chrome, brought our incoherent night to proper conclusion, the first of all the rest, transactions in reciprocal tourism. She was beautiful in a neutral way, emitting no light, defining herself in terms of attrition, a skinny thing, near blond, far beyond recall from the hard-edged rhythms of her life, Southwestern woman, hard to remember and forget...There was never a moment between us that did not measure the extent of our true connection. To go harder, take more, die first.

O ye men, how exceeding strong is wine! it causeth all men to err that drink it: 19. It maketh the mind of the king and of the fatherless child to be all one; of the bondman and of the freeman, of the poor man and of the rich: 20. It turneth also every thought into jollity and mirth, so that a man remembereth neither sorrow nor debt: 21. And it maketh every heart rich, so that a man remembereth neither king nor governor; and it maketh to speak all things by talents: 22. And when they are in their cups, they forget their love both to friends and brethren, and a little after draw out swords: 23. But when they are from the wine, they remember not what they have done.

An example of the Peter Pan syndrome is used in Aldous Huxley's 1962 novel Island. In it, one of the characters talks about male "dangerous delinquents" and "power-loving troublemakers" who are "Peter Pans". These types of males were "boys who can't read, won't learn, don't get on with anyone, and finally turn to the more violent forms of delinquency." He uses Adolf Hitler as an archetype of this phenomenon:[15] A Peter Pan if ever there was one. Hopeless at school. Incapable either of competing or co- operating. Envying all the normally successful boys—and, because he envied, hating them and, to make himself feel better, despising them as inferior beings. Then came the time for puberty. But Adolf was sexually backward. Other boys made advances to girls, and the girls responded. Adolf was too shy, too uncertain of his manhood. And all the time incapable of steady work, at home only in the compensatory Other World of his fancy. There, at the very least, he was Michelangelo. Here, unfortunately, he couldn't draw. His only gifts were hatred, low cunning, a set of indefatigable vocal cords and a talent for nonstop talking at the top of his voice from the depths of his Peter-Panic paranoia. Thirty or forty million deaths and heaven knows how many billions of dollars—that was the price the world had to pay for little Adolf's retarded maturation.

The great charm of conversation consists less in the display of one’s own wit and intelligence, than in the power to draw forth the resources of others; he who leaves you after a long conversation, pleased with himself and the part he has taken in the discourse, will be your warmest admirer. Men do not care to admire you, they wish you to be pleased with them; they do not seek for instruction or even amusement from your discourse, but they do wish you to be made acquainted with their talents and powers of conversation; and the true man of genius will delicately make all who come in contact with him feel the exquisite satisfaction of knowing that they have appeared to advantage.

I cannot understand your total disconnection with the truth of things,” Murchison said. “An artist’s style is his truth, his honesty. Has another man the right to copy it, in the same way that a man copies another man’s signature? And for the same purpose, to draw on his reputation, his bank account? A reputation already built by a man’s talent?

Talent doesn't starve any more. Even art gets enough to eat these days. Artists draw your magazine covers, write your advertisements, hash out rag-time for your theatres. By the great commercializing of printing you've found a harmless, polite occupation for every genius who might have carved his own niche. But beware the artist who's an intellectual also.

We became the most successful advanced projects company in the world by hiring talented people, paying them top dollar, and motivating them into believing that they could produce a Mach 3 airplane like the Blackbird a generation or two ahead of anybody else. Our design engineers had the keen experience to conceive the whole airplane in their mind’s-eye, doing the trade-offs in their heads between aerodynamic needs and weapons requirements. We created a practical and open work environment for engineers and shop workers, forcing the guys behind the drawing boards onto the shop floor to see how their ideas were being translated into actual parts and to make any necessary changes on the spot. We made every shop worker who designed or handled a part responsible for quality control. Any worker—not just a supervisor or a manager—could send back a part that didn’t meet his or her standards. That way we reduced rework and scrap waste. We encouraged our people to work imaginatively, to improvise and try unconventional approaches to problem solving, and then got out of their way. By applying the most commonsense methods to develop new technologies, we saved tremendous amounts of time and money, while operating in an atmosphere of trust and cooperation both with our government customers and between our white-collar and blue-collar employees. In the end, Lockheed’s Skunk Works demonstrated the awesome capabilities of American inventiveness when free to operate under near ideal working conditions. That may be our most enduring legacy as well as our source of lasting pride.

A writer must expect other people to criticize their work and open-mindedly consider all worthwhile suggestions. Martial arts master Bruce Lee advised anyone attempting to master a difficult enterprise to learn from other people but also liberally experiment and judiciously draw from our own well of intelligence and talent. ‘Adapt what is useful, reject what is useless, and add what is specifically your own.

If drawing had value even when practiced by those with no talent, it was, Ruskin believed, because it could teach us to see -- that is, to notice rather than to merely look. In the process of re-creating with our own hands what lies before our eyes, we seem naturally to evolve from observing beauty in a loose way to possessing a deep understanding of its constituent parts and hence more secure memories of it.

Living closer to the center of our being is the practice of a lifetime, but so, too, is skillfully living on the horizontal plane-the surface of life-where our purpose for being on the planet is uniquely expressed. Redefining moments are simply energy vortexes that draw the authentic self up (vertically) and out (horizontally) and into present moment awareness, revealing it to the light of day and the gifts it holds.

There had never been any talent, any talent to draw or paint or to make music or to write or to make any of the wonderful and beautiful things he'd loved. There was only the keen eye to appreciate it, the heartbreaking capacity to perceive talent in others all around...only a gentleman's means could have kept him close to the talent of others, kept him close to all that was fine and enduring and filled life with daily grace.

My idea is not to try and charm you with subtle psychological observations. I have no desire to draw applause from you with my finesse and my humour. There are some authors who employ their talent in the delicate description of varying states of soul, character traits, etc. I shall not be counted among these. All that accumulation of realistic detail, with clearly differentiated characters hogging the limelight, has always seemed pure bullshit to me, I’m sorry to say. Daniel who is Hervé’s friend, but who feels a certain reticence about Gérard. Paul’s fantasy as embodied in Virginie, my cousin’s trip to Venice … One could spend hours on this. Might as well watch lobsters marching up the side of an aquarium (it suffices, for that, to go to a fish restaurant). Added to which, I associate very little with other human beings. To reach the otherwise philosophical

You may be very deficient in talent yourself, and yet you may be the means of drawing to Christ one who shall become eminent in grace and service. Ah! dear friend, you little know the possibilities which are in you. You may but speak a word to a child, and in that child there may be slumbering a noble heart which shall stir the Christian church in years to come. Andrew has only two talents, but he finds Peter. Go thou and do likewise.

And now it’s really over. I finally realized that I must do my schoolwork to keep from being ignorant, to get on in life, to become a journalist, because that’s what I want! I know I can write. A few of my stories are good, my descriptions of the Secret Annex are humorous, much of my diary is vivid and alive, but … it remains to be seen whether I really have talent. “Eva’s Dream” is my best fairy tale, and the odd thing is that I don’t have the faintest idea where it came from. Parts of “Cady’s Life” are also good, but as a whole it’s nothing special. I’m my best and harshest critic. I know what’s good and what isn’t. Unless you write yourself, you can’t know how wonderful it is; I always used to bemoan the fact that I couldn’t draw, but now I’m overjoyed that at least I can write. And if I don’t have the talent to write books or newspaper articles, I can always write for myself. But I want to achieve more than that. I can’t imagine having to live like Mother, Mrs. van Daan and all the women who go about their work and are then forgotten. I need to have something besides a husband and children to devote myself to! I don’t want to have lived in vain like most people. I want to be useful or bring enjoyment to all people, even those I’ve never met. I want to go on living even after my death! And that’s why I’m so grateful to God for having given me this gift, which I can use to develop myself and to express all that’s inside me! When I write I can shake off all my cares. My sorrow disappears, my spirits are revived! But, and that’s a big question, will I ever be able to write something great, will I ever become a journalist or a writer? I hope so, oh, I hope so very much, because writing allows me to record everything, all my thoughts, ideals and fantasies. I haven’t worked on “Cady’s Life” for ages. In my mind I’ve worked out exactly what happens next, but the story doesn’t seem to be coming along very well. I might never finish it, and it’ll wind up in the wastepaper basket or the stove. That’s a horrible thought, but then I say to myself, “At the age of fourteen and with so little experience, you can’t write about philosophy.” So onward and upward, with renewed spirits. It’ll all work out, because I’m determined to write!

What if she had already done it to herself? What if she had shaved away from the surface of her brain whatever synaptic interlacings had formed her gift? She remembered reading somewhere that some pop artist once bought an original drawing by Michelangelo—and had taken a piece of art gum and erased it, leaving blank paper. The waste had shocked her. Now she felt a similar shock as she imagined the surface of her own brain with the talent for chess wiped away.

Watch out, brother,' his professor had told him more than once, 'you have talent; it would be a sin to ruin it. But you're impatient. Some one thing entices you, some one thing takes your fancy––and you occupy yourself with it, and the rest can rot, you don't care about it, you don't even want to look at it. Watch out you don't turn into a fashionable painter. Even now your colors are beginning to cry a bit too loudly. Your drawing is imprecise, and sometimes quite weak, the line doesn't show; you go for fashionable lighting, which strikes the eye at once. Watch out or you'll fall into the English type. Beware. You already feel drawn to the world: every so often I see a showy scarf on your neck, a glossy hat ... It's enticing, you can start painting fashionable pictures, little portraits for money. But that doesn't develop talent, it ruins it. Be patient. Ponder over every work, drop showiness––let the others make money. You won't come out the loser.

Slowly, his hands coasted down to my hips, tracing my panties before he tugged them down. He looked up at me, even as his hand eased between my thighs. Ice-green eyes burned bright. "I've never wanted anyone as much as I want you." The calloused tips of his fingers slid along my swollen, slick sex. "Now that I have you, I don't know where to start." My lids fluttered, hands clutching at his shoulders as he rubbed back and forth. "Right there works for me." His smile was sin and promise. "You like that, honey?" "Yes." He toyed with the entrance to my sex, pausing there to push just enough for me to feel it, to want it. "How about here?" "There is..." My breath caught. He pushed in, long strong fingers filling me. "Is what?" he murmured darkly, those talented fingers slowly fucking me, as though he had all the time in the world. The blunt end of his thumb found my puffy clit and circled it. I whimpered again, falling against him, my arms wrapping around his neck. "So fucking good." He made a noise, possessive and greedy, his mouth finding my nipple, his long fingers pushing up into me. "God, you're perfect. So perfect for me." The slight curl of his fingers hit a spot, and that was it. I came in waves, shaking with it, heat swamping me. His eyes held mine as he coaxed me along, drawing my pleasure out. With a groan that sounded almost pained, Lucian slid to the floor, his wide shoulders edging between my legs. He palmed my thighs in his big hands to hold me steady. And then, with an impatient grunt, he leaned in and kissed my throbbing clit. Kissed it like he kissed my mouth, greedy and deep, licking and sucking, nibbling with firm lips. I cried out again, my knees so weak he had to hold me up. He ate me like a dessert, lapping at my slit before thrusting his tongue inside me. I couldn't take it. It was too much. I came again, writhing against his mouth. "That's it," he said between frantic kisses. "That's it, Em. Work that sweet pussy on my mouth." Oh, hell. I crumpled, dislodging myself before falling onto his lap. I cupped the thick column of his nape and kissed him, drawing in his breath as he groaned and devoured me.

Nothing, again, could be more prosaic and impenetrable than the domestic energies of Miss Diana Duke. But Innocent had somehow blundered on the discovery that her thrifty dressmaking went with a considerable feminine care for dress--the one feminine thing that had never failed her solitary self-respect. In consequence Smith pestered her with a theory (which he really seemed to take seriously) that ladies might combine economy with magnificence if they would draw light chalk patterns on a plain dress and then dust them off again. He set up "Smith's Lightning Dressmaking Company," with two screens, a cardboard placard, and box of bright soft crayons; and Miss Diana actually threw him an abandoned black overall or working dress on which to exercise the talents of a modiste. He promptly produced for her a garment aflame with red and gold sunflowers; she held it up an instant to her shoulders, and looked like an empress. And Arthur Inglewood, some hours afterwards cleaning his bicycle (with his usual air of being inextricably hidden in it), glanced up; and his hot face grew hotter, for Diana stood laughing for one flash in the doorway, and her dark robe was rich with the green and purple of great decorative peacocks, like a secret garden in the "Arabian Nights." A pang too swift to be named pain or pleasure went through his heart like an old-world rapier. He remembered how pretty he thought her years ago, when he was ready to fall in love with anybody; but it was like remembering a worship of some Babylonian princess in some previous existence. At his next glimpse of her (and he caught himself awaiting it) the purple and green chalk was dusted off, and she went by quickly in her working clothes.

I had first thought of Milly's absurdities, to which, in description, I cannot do justice, simply because so many details have, by distance of time, escaped my recollection. But her ways and her talk were so indescribably grotesque that she made me again and again quiver with suppressed laughter. But there was a pitiable and even a melancholy meaning underlying the burlesque. This creature, with no more education than a dairy-maid, I gradually discovered had fine natural aptitudes for accomplishment - a very sweet voice, and wonderfully delicate ear, and a talent for drawing which quite threw mine into the shade. It was really astonishing.

Next day Saint-Loup’s aunt had been universally censured for having allowed so grotesque an actress to appear in her drawing-room. A well-known duke made no bones about telling her that she had only herself to blame if she found herself criticised. “Damn it all, people really don’t come to see ‘turns’ like that! If the woman had talent, even; but she has none and never will have any. ‘Pon my soul, Paris is not such a fool as people make out. Society does not consist exclusively of imbeciles. This little lady evidently believed that she was going to take Paris by surprise. But Paris is not so easily surprised as all that, and there are still some things that they can’t make us swallow.

Had our tour group sat down to draw up a manifesto, it might have gone something like this. We the young, urban, middle class tend to lead a rushed life working for corporates that care more for their bottom-lines than for their employees or the environment. As stressed, unfulfilled, moneyed individuals we then seek satiety in consumption, a treadmill which, besides drawing us further into the same trap, is environmentally unsustainable and has far-reaching consequences. If we would only be willing to to lead a slower, simpler life, we might not have all the shiny stuff, but our work might be better aligned with our talents and dispositions, and we would have opportunity and time to introspect, explore, and lead more fulfilling lives. Everyone would then be growing according their own genius.

The Kingdom of Heaven,” said the Lord Christ, “is among you.” But what, precisely, is the Kingdom of Heaven? You cannot point to existing specimens, saying, “Lo, here!” or “Lo, there!” You can only experience it. But what is it like, so that when we experience it we may recognize it? Well, it is a change, like being born again and relearning everything from the start. It is secret, living power—like yeast. It is something that grows, like seed. It is precious like buried treasure, like a rich pearl, and you have to pay for it. It is a sharp cleavage through the rich jumble of things which life presents: like fish and rubbish in a draw-net, like wheat and tares; like wisdom and folly; and it carries with it a kind of menacing finality; it is new, yet in a sense it was always there—like turning out a cupboard and finding there your own childhood as well as your present self; it makes demands, it is like an invitation to a royal banquet—gratifying, but not to be disregarded, and you have to live up to it; where it is equal, it seems unjust; where it is just it is clearly not equal—as with the single pound, the diverse talents, the labourers in the vineyard, you have what you bargained for; it knows no compromise between an uncalculating mercy and a terrible justice—like the unmerciful servant, you get what you give; it is helpless in your hands like the King’s Son, but if you slay it, it will judge you; it was from the foundations of the world; it is to come; it is here and now; it is within you. It is recorded that the multitudes sometimes failed to understand. (from The Poetry of Search and the Poetry of Statement,)

How, then, did it happen that this same France forty years later came to be crushed on the battlefield by a nation it outnumbered fivefold? Why should its noblemen be split up into factions, its bourgeoisie in revolt, its people overwhelmed by excessive taxation, its provinces lawless and plagued by roving gangs engaged in pillaging and crime, all authority flouted, the currency weakened, trade at a standstill, and poverty and violence rife everywhere? Why this collapse? What caused this reversal of fortune? It was mediocrity. The mediocrity of just a few kings, their vanity and self-importance, their frivolousness in the conduct of their affairs, their inability to attract talented advisors, their nonchalance, their presumptuousness, their failure to draw up grand designs or even to follow those already conceived.

BÉGEARSS [very conceited]. My dear, there’s nothing to it. To start with, there are just two things that make the world go round: morality and politics. Morality, a very footling thing, means being fair and honest. It is, so they say, the basis of a number of rather boring virtues.[...] Politics is the art of making things happen, of leading people and events by the nose: it’s child’s play. Its purpose is self-interest, its method intrigue. Always economical with the truth, it has boundless, dazzling possibilities which stand like a beacon and draw you on. As deep as Etna, it smoulders and rumbles for a long time before finally erupting into the light of day. By then nothing can stop it. It calls for superior talents and is threatened by only one thing: honest principles. [He laughs] That’s the key to all the deals that are ever made!

Walt Disney's orchestration of his animation studio was often likened to that of a Renaissance artist's workshop: 'Of all the things I've done,' he stated, 'the most vital is coordinating the talents of those who work for us and pointing them at a certain goal.' Disney understood the amorphous nature of his role as repeatedly relayed in what may be an apocryphal anecdote: 'You know,' Disney said, 'I was stumped one day when a little boy asked, 'Do you draw Mickey Mouse?' I had to admit I do not draw any more. 'Then you think up all the jokes and ideas?' 'No,' I said, 'I don't do that.' Finally, he looked at me and said, 'Mr. Disney, just what do you do?' 'Well,' I said, 'Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody.' I guess that's the job I do.

In explaining the way that trivial, if diverting, pursuits like Guitar Hero provide an easy alternative to meaningful work, Horning draws on the writing of political theorist Jon Elster. In his 1986 book An Introduction to Karl Marx, Elster used a simple example to illustrate the psychic difference between the hard work of developing talent and the easy work of consuming stuff: Compare playing the piano with eating lamb chops. The first time one practices the piano it is difficult, even painfully so. By contrast, most people enjoy lamb chops the first time they eat them. Over time, however, these patterns are reversed. Playing the piano becomes increasingly more rewarding, whereas the taste for lamb chops becomes satiated and jaded with repeated, frequent consumption. Elster then made a broader point: Activities of self-realization are subject to increasing marginal utility: They become more enjoyable the more one has already engaged in them. Exactly the opposite is true of consumption. To derive sustained pleasure from consumption, diversity is essential. Diversity, on the other hand, is an obstacle to successful self-realization, as it prevents one from getting into the later and more rewarding stages. “Consumerism,” comments Horning, “keeps us well supplied with stuff and seems to enrich our identities by allowing us to become familiar with a wide range of phenomena—a process that the internet has accelerated immeasurably. . . . But this comes at the expense with developing any sense of mastery of anything, eroding over time the sense that mastery is possible, or worth pursuing.” Distraction is the permanent end state of the perfected consumer, not least because distraction is a state that is eminently programmable. To buy a guitar is to open possibilities. To buy Guitar Hero is to close them. A

Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.

Bloody hell,” Charlie gasped. “That’s twenty-five quid each, Isaac.” “Language.” “Shit.” Isaac blew out a breath. “A hundred quid, Mum.” “Isaac, language.” “Hey no,” Dex said, holding up a hand. “I mean a hundred each. I could use these as stencils. At this size I could pretty much charge double that, if not more, each time they’re used. Probably twice again if they have them in colour.” The three of us looked at Dex in awe. He wanted to buy my talented boy’s drawings for a hundred pounds each. “Well?” I prompted. “Fuck yeah.” “Language,” I said, barely above a whisper, still in a state of shock. “It’s a deal.” Dex grinned. “Speaking of which, I said I’d show you my designs, but I gotta be honest, I’m not sure they’re as good as these.” “Oh fuck,” I muttered. “Language,” Charlie cried. As Dex stripped off his shirt, I genuinely thought I heard a choir of angels sing and saw a shaft of light shine through the darkness outside and into my lounge. There was only one word for what I was looking at – wondrous. He could honestly market himself as a tourist attraction and sell tickets.

Unchopping a Tree. Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places. It is not arduous work, unless major limbs have been smashed or mutilated. If the fall was carefully and correctly planned, the chances of anything of the kind happening will have been reduced. Again, much depends upon the size, age, shape, and species of the tree. Still, you will be lucky if you can get through this stages without having to use machinery. Even in the best of circumstances it is a labor that will make you wish often that you had won the favor of the universe of ants, the empire of mice, or at least a local tribe of squirrels, and could enlist their labors and their talents. But no, they leave you to it. They have learned, with time. This is men's work. It goes without saying that if the tree was hollow in whole or in part, and contained old nests of bird or mammal or insect, or hoards of nuts or such structures as wasps or bees build for their survival, the contents will have to repaired where necessary, and reassembled, insofar as possible, in their original order, including the shells of nuts already opened. With spider's webs you must simply do the best you can. We do not have the spider's weaving equipment, nor any substitute for the leaf's living bond with its point of attachment and nourishment. It is even harder to simulate the latter when the leaves have once become dry — as they are bound to do, for this is not the labor of a moment. Also it hardly needs saying that this the time fro repairing any neighboring trees or bushes or other growth that might have been damaged by the fall. The same rules apply. Where neighboring trees were of the same species it is difficult not to waste time conveying a detached leaf back to the wrong tree. Practice, practice. Put your hope in that. Now the tackle must be put into place, or the scaffolding, depending on the surroundings and the dimension of the tree. It is ticklish work. Almost always it involves, in itself, further damage to the area, which will have to be corrected later. But, as you've heard, it can't be helped. And care now is likely to save you considerable trouble later. Be careful to grind nothing into the ground. At last the time comes for the erecting of the trunk. By now it will scarcely be necessary to remind you of the delicacy of this huge skeleton. Every motion of the tackle, every slightly upward heave of the trunk, the branches, their elaborately reassembled panoply of leaves (now dead) will draw from you an involuntary gasp. You will watch for a lead or a twig to be snapped off yet again. You will listen for the nuts to shift in the hollow limb and you will hear whether they are indeed falling into place or are spilling in disorder — in which case, or in the event of anything else of the kind — operations will have to cease, of course, while you correct the matter. The raising itself is no small enterprise, from the moment when the chains tighten around the old bandages until the boles hands vertical above the stump, splinter above splinter. How the final straightening of the splinters themselves can take place (the preliminary work is best done while the wood is still green and soft, but at times when the splinters are not badly twisted most of the straightening is left until now, when the torn ends are face to face with each other). When the splinters are perfectly complementary the appropriate fixative is applied. Again we have no duplicate of the original substance. Ours is extremely strong, but it is rigid. It is limited to surfaces, and there is no play in it. However the core is not the part of the trunk that conducted life from the roots up to the branches and back again. It was relatively inert. The fixative for this part is not the same as the one for the outer layers and the bark, and if either of these is involved

If these avatars were real people in a real street, Hiro wouldn't be able to reach the entrance. It's way too crowded. But the computer system that operates the Street has better things to do than to monitor every single one of the millions of people there, trying to prevent them from running into each other. It doesn't bother trying to solve this incredibly difficult problem. On the Street, avatars just walk right through each other. So when Hiro cuts through the crowd, headed for the entrance, he really is cutting through the crowd. When things get this jammed together, the computer simplifies things by drawing all of the avatars ghostly and translucent so you can see where you're going. Hiro appears solid to himself, but everyone else looks like a ghost. He walks through the crowd as if it's a fogbank, clearly seeing The Black Sun in front of him. He steps over the property line, and he's in the doorway. And in that instant he becomes solid and visible to all the avatars milling outside. As one, they all begin screaming. Not that they have any idea who the hell he is -- Hiro is just a starving CIC stringer who lives in a U-Stor-It by the airport. But in the entire world there are only a couple of thousand people who can step over the line into The Black Sun. He turns and looks back at ten thousand shrieking groupies. Now that he's all by himself in the entryway, no longer immersed in a flood of avatars, he can see all of the people in the front row of the crowd with perfect clarity. They are all done up in their wildest and fanciest avatars, hoping that Da5id -- The Black Sun's owner and hacker-in-chief -- will invite them inside. They flick and merge together into a hysterical wall. Stunningly beautiful women, computer-airbrushed and retouched at seventy-two frames a second, like Playboy pinups turned three-dimensional -- these are would-be actresses hoping to be discovered. Wild-looking abstracts, tornadoes of gyrating light-hackers who are hoping that Da5id will notice their talent, invite them inside, give them a job. A liberal sprinkling of black-and-white people -- persons who are accessing the Metaverse through cheap public terminals, and who are rendered in jerky, grainy black and white. A lot of these are run-of-the-mill psycho fans, devoted to the fantasy of stabbing some particular actress to death; they can't even get close in Reality, so they goggle into the Metaverse to stalk their prey. There are would-be rock stars done up in laser light, as though they just stepped off the concert stage, and the avatars of Nipponese businessmen, exquisitely rendered by their fancy equipment, but utterly reserved and boring in their suits.

She took out a charcoal stick and began to sketch-- on the workbench itself. Of course the moon wouldn't come to her in songs or poems or crystals or whatever... she felt the most centered, the most tranquil, when she was painting or drawing. Lost in her own world or in new ones she imagined. She shouldn't have made a chart; she should have drawn a circle, with the moons going from waxing to waning all the way around... She hummed to herself a little, the way she always did when she painted. Her hair began to glow. A little shading here, a few light strokes in the middle of the full moon for the face that Rapunzel saw there... Circles and shadows and crosshatching... She worked extra hard on the profile of the fatter waxing crescent, where the moon would be now. She knew what it looked like as she felt her hand shape it. Her power surged; her hair began to sparkle. She looked around frantically for something to release her magic on. The first thing she saw was her tea, so she grabbed the red clay cup and wrapped the end of a braid around it. Just like with Pascal, sparks sprayed off her hair and over the object. When they faded they revealed... ... a heavy, crude clay cup. Rapunzel started to slump in disappointment-- and then noticed something. Where the hair had touched the sides, the cup was now shiny black, like onyx or obsidian.

The various ways of creating a culture of innovation that we’ve talked about so far are greatly influenced by the leaders at the top. Leaders can’t dictate culture, but they can nurture it. They can generate the right conditions for creativity and innovation. Metaphorically, they can provide the heat and light and moisture and nutrients for a creative culture to blossom and grow. They can focus the best efforts of talented individuals to build innovative, successful groups. In our work at IDEO, we have been lucky enough to meet frequently with CEOs and visionary leaders from both the private and public sectors. Each has his or her own unique style, of course, but the best all have an ability to identify and activate the capabilities of people on their teams. This trait goes far beyond mere charisma or even intelligence. Certain leaders have a knack for nurturing people around them in a way that enables them to be at their best. One way to describe those leaders is to say they are “multipliers,” a term we picked up from talking to author and executive advisor Liz Wiseman. Drawing on a background in organizational behavior and years of experience as a global human resources executive at Oracle Corporation, Liz interviewed more than 150 leaders on four continents to research her book Multipliers: How the Best Leaders Make Everyone Smarter. Liz observes that all leaders lie somewhere on a continuum between diminishers, who exercise tight control in a way that underutilizes their team’s creative talents, and multipliers, who set challenging goals and then help employees achieve the kind of extraordinary results that they themselves may not have known they were capable of.

Many people find it hard to understand what it is about a mountain that draws men and women to risk their lives on her freezing, icy faces--all for a chance at that single, solitary moment on the top. It can be hard to explain. But I also relate to the quote that says: “If you have to ask, you will never understand.” I just felt that maybe this was it: my first real, and possibly only, chance to follow that dream of one day standing on the summit of Mount Everest. Deep down, I knew that I should take it. Neil agreed to my joining his Everest team on the basis of how I’d perform on an expedition that October to the Himalayas. As I got off the phone from speaking to Neil, I had a sinking feeling that I had just made a commitment that was going to change my life forever--either for the better or for the worse. But I had wanted a fresh start--this was it, and I felt alive. A few days later I announced the news to my family. My parents--and especially my sister, Lara--called me selfish, unkind, and then stupid. Their eventual acceptance of the idea came with the condition that if I died then my mother would divorce my father, as he had been the man who had planted the “stupid idea” in my head in the first place, all those years earlier. Dad just smiled. Time eventually won through, even with my sister, and all their initial resistance then turned into a determination to help me--predominantly motivated by the goal of trying to keep me alive. As for me, all I had to ensure was that I kept my promise to be okay. As it happened, four people tragically died on Everest while we were there: four talented, strong climbers. It wasn’t within my capability to make these promises to my family. My father knew that.

Whoooa! Red! Green! Yellow! Brown! Purple! Even black! Look at all those bowls full of brilliantly colored batter!" She used strawberries, blueberries, matcha powder, cocoa powder, black sesame and other natural ingredients to dye those batters. They look like a glittering array of paints on an artist's palette! "Now that all my yummy edible paints are ready... ...it's picture-drawing time!" "She twisted a sheet of parchment paper into a piping bag and is using it to draw all kinds of cute pictures!" "You're kidding me! Look at them all! How did she get that fast?!" Not only that, most chefs do rough sketches first, but she's doing it off the cuff! How much artistic talent and practice does she have?! "All these cutie-pies go into the oven for about three minutes. After that I'll take them out and pour the brown sugar batter on top..." "It appears she's making a roll cake if she's pouring batter into that flat a pan." "Aah, I see. It must be one of those patterned roll cakes you often see at Japanese bakeries. That seems like an unusually plain choice, considering the fanciful tarts she made earlier." "The decorations just have to be super-cute, too." "OOOH! She's candy sculpting!" "So pretty and shiny!" That technique she's using- that's Sucre Tiré (Pulled Sugar)! Of all the candy-sculpting arts, Sucre Tiré gives the candy a glossy, nearly glass-like luster... but keeping the candy at just the right temperature so that it remains malleable while stretching it to a uniform thickness is incredibly difficult! Every step is both delicate and exceptionally difficult, yet she makes each one look easy! She flows from one cutest technique to the next, giving each an adorable flair! Just like she insisted her apple tarts had to be served in a pretty and fantastical manner... ... she's even including cutesy performances in the preparation of this dish!

You’re mine,” he said when he drew back, gazing down at her with a hunger that should have made her run. “No one else’s.” He gripped her hips and set her on the edge of his desk. Before she could figure out what he was doing, he brushed her dress up, spread her thighs, and ripped her thong. “Gavin, what—?” His tongue slipped into her vagina, and her mind went blank with shock. He dragged her to the edge of the desk and ate her as if his life depended on it. One hand pinned her thigh open while the other cupped her ass, drawing her tight to his intimate kiss. She couldn’t think as pleasure ricocheted through her. His talented mouth suckled her clit. Before she could counteract the pleasure or get a hold on it, her climax, violent and unstoppable, blasted through her. She wrapped her legs around his head, body bowing as he slammed his fingers into her, eliciting mind-numbing pleasure so great, her mind shut down and her body took over. When it became too much, she yanked on his hair, trying to get his mouth away from her. He moaned but didn’t budge. She could hear him swallow as he lapped up her juices. “G-Gavin, please stop,” she said hoarsely, shuddering. Without moving his head, he pushed her, so she sprawled on her back in a boneless heap on the slick surface of his desk. He used his fingers this time, curling and stroking. The heat began to build again. She tried to kick him, but his hands pinned her wide, and she had no defense as he teased oversensitive nerves. “I-I can’t,” she panted even as another climax punched through her. She erupted, body jerking as he pulled the strings like the master he was. When rational thought returned, she found him standing over her, fingers still buried between her legs. His eyes were ablaze with lust. “I didn’t ask the first time. You say I raped you. Will you let me have you?” It would feel damn good, but... “No.

For the better part of two years Niels Lyhne wandered abroad. He was so lonely. He had no family, no friend who was dear to his heart. But there was a greater loneliness about him than that; for a person may well feel anguished and forsaken if on the whole enormous earth there is not one small place he can bless and wish well, someplace he can turn his heart toward when his heart insists on swelling, a place he can long for when longing insists on spreading its wings; but if he has the clear, steady star of a life’s goal shining overhead, then there is no night so lonely that he is entirely alone. But Niels Lyhne had no star. He didn’t know what to do with himself and his abilities. He did have talent, but he just couldn’t use it; he went around feeling like a painter without hands. How he envied the others, great and small, who, no matter where they reached in life, always found something to hold on to! Because he could not find anything to hold on to. It seemed to him that all he could do was sing the old romantic songs over again, and everything that he had accomplished had been nothing more than this. It was as if his talent were something remote in him, a quiet Pompeii, or like a harp he could take out of a corner. It was not omnipresent, it did not run down the street with him, it did not reside in his eyes, it did not tingle in his fingertips, not at all; his talent did not have a hold on him. At times it seemed to him that he had been born half a century too late, at other times that he had arrived much too early. The talent within him was rooted in something from the past which was the only thing that could give it life. It could not draw nourishment from his opinions, his convictions, his sympathies, it could not assimilate them and give them form; they floated away from each other, these two parts, like water and oil, they could be shaken together but could not be mixed, never become one.

Sometimes what-if fantasies are useful. Imagine that the entirety of Western civilisation’s coding for computer systems or prints of all films ever made or all copies of Shakespeare and the Bible and the Qur’an were encrypted and held on one tablet device. And if that tablet was lost, stolen, burnt or corrupted, then our knowledge, use and understanding of that content, those words and ideas, would be gone for ever – only, perhaps, lingering in the minds of a very few men of memory whose job it had been to keep ideas alive. This little thought-experiment can help us to comprehend the totemic power of manuscripts. This is the great weight of responsibility for the past, the present and the future that the manuscripts of Constantinople carried. Much of our global cultural heritage – philosophies, dramas, epic poems – survive only because they were preserved in the city’s libraries and scriptoria. Just as Alexandria and Pergamon too had amassed vast libraries, Constantinople understood that a physical accumulation of knowledge worked as a lode-stone – drawing in respect, talent and sheer awe. These texts contained both the possibilities and the fact of empire and had a quasi-magical status. This was a time when the written word was considered so potent – and so precious – that documents were thought to be objects with spiritual significance. (...) It was in Constantinople that the book review was invented. Scholars seem to have had access to books within a proto-lending-library system, and there were substantial libraries within the city walls. Thanks to Constantinople, we have the oldest complete manuscript of the Iliad, Aeschylus’ dramas Agamemnon and Eumenides, and the works of Sophocles and Pindar. Fascinating scholia in the margins correct and improve: plucking work from the page ‘useful for the reader . . . not just the learned’, as one Byzantine scholar put it. These were texts that were turned into manuals for contemporary living.

In the weeks that followed, Elizabeth discovered to her pleasure that she could ask Ian any question about any subject and that he would answer her as fully as she wished. Not once did he ever patronize her when he replied, or fend her off by pointing out that, as a woman, the matter was truly none of her concern-or worse-that the answer would be beyond any female’s ability to understand. Elizabeth found his respect for her intelligence enormously flattering-particularly after two astounding discoveries she made about him: The first occurred three days after their wedding, when they both decided to spend the evening at home, reading. That night after supper, Ian brought a book he wanted to read from their library-a heavy tome with an incomprehensible title-to the drawing room. Elizabeth brought Pride and Prejudice, which she’d been longing to read since first hearing of the uproar it was causing among the conservative members of the ton. After pressing a kiss on her forehead, Ian sat down in the high-backed chair beside hers. Reaching across the small table between them for her hand, he linked their fingers together, and opened his book. Elizabeth thought it was incredibly cozy to sit, curled up in a chair beside him, her hand held in his, with a book in her lap, and she didn’t mind the small inconvenience of turning the pages with one hand. Soon, she was so engrossed in her book that it was a full half-hour before she noticed how swiftly Ian turned the pages of his. From the corner of her eye, Elizabeth watched in puzzled fascination as his gaze seemed to slide swiftly down one page, then the facing page, and he turned to the next. Teasingly, she asked, “Are you reading that book, my lord, or only pretending for my benefit?” He glanced up sharply, and Elizabeth saw a strange, hesitant expression flicker across his tanned face. As if carefully phrasing his reply, he said slowly, “I have an-odd ability-to read very quickly.” “Oh,” Elizabeth replied, “how lucky you are. I never heard of a talent like that.” A lazy glamorous smile swept across his face, and he squeezed her hand. “It’s not nearly as uncommon as your eyes,” he said.

That's a fine line," he said at last, indicating with his thumb what pleased him. "You're beginning to learn to draw." Clutton did not answer, but looked at the master with his usual air of sardonic indifference to the world's opinion. "I'm beginning to think you have at least a trace of talent." Mrs. Otter, who did not like Clutton, pursed her lips. She did not see anything out of the way in his work. Foinet sat down and went into technical details. Mrs. Otter grew rather tired of standing. Clutton did not say anything, but nodded now and then, and Foinet felt with satisfaction that he grasped what he said and the reasons of it; most of them listened to him, but it was clear they never understood. Then Foinet got up and came to Philip. "He only arrived two days ago," Mrs. Otter hurried to explain. "He's a beginner. He's never studied before." "Ca se voit," the master said. "One sees that." He passed on, and Mrs. Otter murmured to him: "This is the young lady I told you about." He looked at her as though she were some repulsive animal, and his voice grew more rasping. "It appears that you do not think I pay enough attention to you. You have been complaining to the massiere. Well, show me this work to which you wish me to give attention." Fanny Price coloured. The blood under her unhealthy skin seemed to be of a strange purple. Without answering she pointed to the drawing on which she had been at work since the beginning of the week. Foinet sat down. "Well, what do you wish me to say to you? Do you wish me to tell you it is good? It isn't. Do you wish me to tell you it is well drawn? It isn't. Do you wish me to say it has merit? It hasn't. Do you wish me to show you what is wrong with it? It is all wrong. Do you wish me to tell you what to do with it? Tear it up. Are you satisfied now?" Miss Price became very white. She was furious because he had said all this before Mrs. Otter. Though she had been in France so long and could understand French well enough, she could hardly speak two words. "He's got no right to treat me like that. My money's as good as anyone else's. I pay him to teach me. That's not teaching me." "What does she say? What does she say?" asked Foinet. Mrs. Otter hesitated to translate, and Miss Price repeated in execrable French. "Je vous paye pour m'apprendre." His eyes flashed with rage, he raised his voice and shook his fist. "Mais, nom de Dieu, I can't teach you. I could more easily teach a camel." He turned to Mrs. Otter. "Ask her, does she do this for amusement, or does she expect to earn money by it?" 304

What if she had already done it to herself? What if she had shaved away from the surface of her brain whatever synaptic interlacings had formed her gift? She remembered reading somewhere that some pop artist once bought an original drawing by Michelangelo—and had taken a piece of art gum and erased it, leaving blank paper. The waste had shocked her. Now she felt a similar shock as she imagined the surface of her own brain with the talent for chess wiped away. At home she tried a Russian game book, but she couldn’t concentrate. She started going through her game with Foster, setting the board up in the kitchen, but the moves of it were too painful. That damned Stonewall, and the hastily pushed pawn. A patzer’s move. Bad chess. Hungover chess. The telephone rang, but she didn’t answer. She sat at the board and wished for a moment, painfully, that she had someone to call. Harry Beltik would be back in Louisville. And she didn’t want to tell him about the game with Foster. He would find out soon enough. She could call Benny. But Benny had been icy after Paris, and she did not want to talk to him. There was no one else. She got up wearily and opened the cabinet next to the refrigerator, took down a bottle of white wine and poured herself a glassful. A voice inside her cried out at the outrage, but she ignored it. She drank half of it in one long swallow and stood waiting until she could feel it. Then she finished the glass and poured another. A person could live without chess. Most people did. When she awoke on the sofa the next morning, still wearing the Paris clothes she had worn when losing the game to Foster, she was frightened in a new way. She could sense her brain being physically blurred by alcohol, its positional grasp gone clumsy, its penetration clouded. But after breakfast she showered and changed and then poured herself a glass of wine. It was almost mechanical; she had learned to cut off thought as she did it. The main thing was to eat some toast first, so the wine wouldn’t burn her stomach. She kept drinking for days, but the memory of the game she had lost and the fear of what she was doing to the sharp edge of her gift would not go away, except when she was so drunk that she could not even think. There was a piece in the Sunday paper about her, with one of the pictures taken that morning at the high school, and a headline reading CHESS CHAMP DROPS FROM TOURNEY. She threw the paper away without reading the article. Then one morning after a night of dark and confusing dreams she awoke with an unaccustomed clarity: if she did not stop drinking immediately she would ruin what she had. She had allowed herself to sink into this frightening murk. She had to find a foothold somewhere to push herself free of it. She would have to get help.

Most exciting, the growth mindset can be taught to managers. Heslin and his colleagues conducted a brief workshop based on well-established psychological principles. (By the way, with a few changes, it could just as easily be used to promote a growth mindset in teachers or coaches.) The workshop starts off with a video and a scientific article about how the brain changes with learning. As with our “Brainology” workshop (described in chapter 8), it’s always compelling for people to understand how dynamic the brain is and how it changes with learning. The article goes on to talk about how change is possible throughout life and how people can develop their abilities at most tasks with coaching and practice. Although managers, of course, want to find the right person for a job, the exactly right person doesn’t always come along. However, training and experience can often draw out and develop the qualities required for successful performance. The workshop then takes managers through a series of exercises in which a) they consider why it’s important to understand that people can develop their abilities, b) they think of areas in which they once had low ability but now perform well, c) they write to a struggling protégé about how his or her abilities can be developed, and d) they recall times they have seen people learn to do things they never thought these people could do. In each case, they reflect upon why and how change takes place. After the workshop, there was a rapid change in how readily the participating managers detected improvement in employee performance, in how willing they were to coach a poor performer, and in the quantity and quality of their coaching suggestions. What’s more, these changes persisted over the six-week period in which they were followed up. What does this mean? First, it means that our best bet is not simply to hire the most talented managers we can find and turn them loose, but to look for managers who also embody a growth mindset: a zest for teaching and learning, an openness to giving and receiving feedback, and an ability to confront and surmount obstacles. It also means we need to train leaders, managers, and employees to believe in growth, in addition to training them in the specifics of effective communication and mentoring. Indeed, a growth mindset workshop might be a good first step in any major training program. Finally, it means creating a growth-mindset environment in which people can thrive. This involves: • Presenting skills as learnable • Conveying that the organization values learning and perseverance, not just ready-made genius or talent • Giving feedback in a way that promotes learning and future success • Presenting managers as resources for learning Without a belief in human development, many corporate training programs become exercises of limited value. With a belief in development, such programs give meaning to the term “human resources” and become a means of tapping enormous potential.

Look at that ship. That clipper cost me a queen’s ransom, even with the Kestrel thrown in the bargain. But it was the fastest ship to be had.” He took her hands in his. “Forget money. Forget society. Forget expectations. We’ve no talent for following rules, remember? We have to follow our hearts. You taught me that.” He gathered her to him, drawing her hands to his chest. “God, sweet, don’t you know? You’ve had my heart in your pocket since the day we met. Following my heart means following you. I’ll follow you to the ends of the earth if I have to.” He shot an amused glance at the captain. “Though I’d expect your good captain would prefer I didn’t. In fact, I think he’d gladly marry us today, just to be rid of me.” “Today? But we couldn’t.” His eyebrows lifted. “Oh, but we could.” He pulled her to the other side of the ship, slightly away from the gaping crowd. Wrapping his arms around her, he leaned close to whisper in her ear, “Happy birthday, love.” Sophia melted in his embrace. It was her birthday, wasn’t it? The day she’d been anticipating for months, and here she’d forgotten it completely. Until Gray had appeared on the horizon, she hadn’t been looking forward to anything. But now she did. She looked forward to marriage, and children, and love and grand adventure. Real life and true passion. All of it with this man. “Oh, Gray.” “Please say yes,” he whispered. “Sophia.” The name was a caress against her ear. “I love you.” He kissed her cheek and pulled away. “I’ve been remiss in not telling you. You can’t know how I’ve regretted it. But I love you, Sophia Jane Hathaway. I love you as no man ever loved a woman. I love you so much, I fear I’ll burst with it. In fact, I think I shall burst if I go another minute without kissing you, so if you’ve any mind to say yes, I’d thank you to-“ Sophia flung her arms around his neck and kissed him. Hard at first, to quiet the fool man; then gently, to savor him. oh, how she loved the taste of him, like freshly baked bread and rum. Warm and wholesome and comforting, with just a hint of spice and danger. “Yes,” she sighed against his lips. She pulled back and looked into his eyes. “Yes, I will marry you.” His arms tightened about her waist. “Today?” “Today. But you must let me change my gown first.” Smiling, she stroked his smooth cheek. “You even shaved.” “Every day since we left Tortola.” He gave her a rueful smile. “I’ve a few new scars to show for it.” “Good.” She kissed him. “I’m glad. And I don’t care if society casts us out for the pirates we are, just as long as I’m with you.” “Oh, I don’t know that we’ll be cast out, exactly. We’re definitely not pirates. After your stirring testimony”-he chucked her under the chin-“Fitzhugh decided to make the best of an untenable situation. Or an unhangable pirate, as it were. If he couldn’t advance on his career by convicting me, he figured he’d advance it by commending me. Awarded me the Kestrel as salvage and recommended me to the governor for a special citation of valor. There’s talk of knighthood.” He grinned. “Can you believe it? Me, a hero.” “Of course I believe it.” She laced her fingers at the back of his neck. “I’ve always known it, although I should curse that judge and his ‘citation of valor.’ As if you needed a fresh supply of arrogance. Just remember, whatever they deem you-gentleman or scoundrel, hero or pirate-you are mine.” “So I am.” He kissed her soundly, passionately. “And which would you prefer tonight?” At the seductive grown in his voice, shivers of arousal swept down to her toes. “Your gentleman? Your scoundrel? Your hero or your pirate?” She laughed. “I imagine I’ll enjoy all four on occasion. But tonight, I believe I shall find tremendous joy in simply calling you my husband.” He rested his forehead against hers. “My love.” “That, too.

But what cannot be taught, fortunately or unfortunately, is the creative, expressive side of art. Most good teachers of drawing, painting, ect., can teach you what they know and have learned through years of experience and experiment with their medium, but when it comes to creative expression their way is only theirs and never yours, and your value as an artist ceases to exist if you accept their way. Great artists are born and their talents developed. And only the art that grows from the student's own understanding and evaluation of the truth is genuine and valuable. In this he is dependent on himself alone.

Convinced he knew the direction of success, keenly aware of his own age and finite opportunities, and—if for no clear reason—seeing himself as a talented political infighter, Bannon sought to draw the line between believers and sell-outs, being and nothingness.

My art teacher says I have talent," Twiss told her father, thinking of her last piece. Although she usually preferred to draw things like bloody axes and pus balls, for the last project of the quarter her teacher had asked them to draw a picture of what happiness felt like. Twiss drew a flock of all different kinds of birds- red, blue, gray, green- taking flight from the top branches of an old-growth pine tree. When her teacher asked her to explain the drawing, Twiss said to her happiness felt like freedom. Sadness felt like the opposite.

Otherwise we run the risk of failing God in the one thing that so greatly determined His choice of us; and in failing God, we shall fail ourselves. Find your personal worth in your special calling from God Our Christian vocation carries responsibility, but it has its compensations, too. One such compensation is the wholesome feeling of personal worth that should be mine. If I am important to God, I am indeed an important person. Other people may not rate me very highly. My talents may be quite limited, and to those who know me, I may be just an average sort of person. My job may be a relatively humble one, and I may be tempted to feel inferior as I see others around me making their mark in the world. Then I remember that money, position, and popularity - all the yardsticks by which the world measures success - are to God nothing more than a child's playthings. Eventually they must be cast aside and left behind. In the meantime, if I am in a state of grace and am following God's will as my road map through life, then every least action of mine has an everlasting value. However lowly the world may esteem me, every breath I draw is precious to God. Speaking again in human terms, God made me because He needs me. There is something that has to be done that only I can do. What greater personal worth could there be than to be needed by God? It matters little that I do not know the nature of my essential role in God's plan. It is enough to know that I am as valuable to God as the most distinguished person the world has ever acclaimed. This sense of personal worth is not pride. It is not even vanity. Pride consists in declaring my independence of God, as though I alone were responsible for whatever merit I possess. Vanity is simply a silly preoccupation with God's lesser natural gifts, such as looks or talents. It would not be humility - it would be a belittling of God's wisdom and goodness - to pretend that I do not amount to much, that my life is meaningless, that I would never have been missed if I had not been born. It is quite true that apart from God I am nothing. It is just as true that God's love has made me great. To admit this is to do simple justice to God. I must never surrender to the temptation to think, "I am no good. I am a failure." Neither must I surrender - ever - to self-pity; to the feeling that nobody loves me, nobody cares about me. How awful it would be, after all the love God has expended and is expending on me, to brood and sorrow because I do not receive as much human love as I might wish. That would be about as silly as the complaint of a millionaire at not winning on the penny slot machine. A self-pitying person can only be one who is weak in faith or ignorant in religion. God's love for me is such a tremendous thing! From my sense of Christian vocation there follows another effect: freedom from serious worry. If I really believe that God loves me with an infinite love (as He does) and that He wants what is best for me (as He does), I cannot worry very long or very intensely. God is infinitely wise; He always knows what is best. God is infinitely powerful; He can accomplish anything

Consider the case of two very similar companies, Twitter and Tumblr. Both had brilliant, product-oriented founders in Evan “Ev” Williams and David Karp. Both were hot social media start-ups. Both grew at a remarkable rate after establishing product/ market fit. Both had a major impact on popular culture. Yet Twitter went public and achieved a market capitalization that peaked at nearly $ 37 billion, while Tumblr was acquired by Yahoo!—another start-up that used blitzscaling to become a scale-up, only to decline and fade away—for “only” $ 1 billion. Was this dumb luck on Twitter’s side? Perhaps. Luck always plays a larger role than founders, investors, and the media would like to admit. But a major difference was that Twitter could draw on numerous networks for advice and help that Tumblr could not. For example, Twitter was able to bring in Dick Costolo, a savvy executive with prior scaling experience at Google. In contrast, even though Tumblr was arguably the most prominent start-up in its New York City ecosystem, it couldn’t easily draw upon a pool of local talent who had experience dealing with rapid growth. According to Greylock’s John Lilly, for every executive role that Tumblr needed to fill, there were less than a handful of candidates in all of New York City.

I’m convinced God calls each of us to use whatever talents, skills, and gifts he endows us with to draw others toward him. To me, the differentiation of spiritual gifts implies that each Christian will “evangelize” (convey the good news to others) in a different but nonetheless productive way. In this context, every Christian is gifted for evangelism, but each Christian’s manner of expressing that gift will be unique.

During the more than 70 years of independence of Pakistan, none of the governments established its resources to argue and defend its disputes and political and diplomatic relations in civilized societies. For that purpose, the English print and electronic media would have the appropriate and suitable ways to execute its concerns, for the security and economic achievements. Unfortunately, all institutions fail, to draw attention towards that insight and point. Pakistan has not a lack of talented figures, who may devote their services voluntarily, for that cause. It is a key to the state of Pakistan, for its advocacy of peace and harmony with other nations, and defending tool, to opponents, who try to damage the dignity and prestige of Pakistan, with negative propaganda. If we realize that, the small nations and political, or religious groups, have a hold on such tools, and ways, for their propaganda. While Pakistan is out of that picture; consequently, we face isolation, and humiliation by wrong elements.